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Advice to Young Filmmakers from Denis Côté

Friday, July 7th, 2017

As Leo Barraclough reports in Variety, director Denis Côté does not suffer fools gladly.

As Barraclough writes, “Canadian filmmaker Denis Côté has won multiple awards at top festivals, including Berlin with Vic + Flo Saw a Bear and Locarno for Curling. This week he has been mentoring a group of student filmmakers at the Karlovy Vary Film Festival, where he advised them on how to get ahead in the independent film world. Variety was given exclusive access to the discussion.

Although he is genial, Côté doesn’t seem like a man to take hostages. He told the 10 students – gathered together by European Film Promotion as part of its Future Frames program — that they were ‘shy,’ and given the context of the discussion – how to get your films selected by film festivals — it wasn’t a compliment.

‘You need to be social. If you are this kind of weird poet director who has no friends and is always alone you might be a genius but… you need to talk to people,’ he said. ‘Cinema is a social world. It is not like playing a guitar alone in your room or painting. Cinema is the most social art.’

Young filmmakers needed to be proactive when trying to get on the festival circuit, and not leave it to others to put their films in front of festival programmers. ‘Never trust sales agents, distributors or films schools when they say they are taking care of your film. Send [the submissions] yourself.’

He cautioned against being overly pushy. ‘There is a thin line. You need to be respectful and not annoying. The moment you become annoying everybody knows.’

Côté’s go-getting attitude is also applied to generating projects. ‘I’m my own job provider. If I don’t write a new script, no one will write it for me. I’m my own locomotive bringing people with me. I’m open to collaboration but it’s never happened to me.’

He explained that he has developed the reputation for being ‘this alien weird guy making these weird films,’ which may put off writers from sending him their scripts to direct. His ‘weird’ – a.k.a. experimental — films include Bestiaire, a documentary in which a variety of zoo animals stare into the camera, and Carcasses, about a man who collects wrecked cars, and four teenagers with Down Syndrome, carrying guns, who invade his junkyard.

He advises young people to be brave and not to wait too long to go into production on their first feature. ‘Young filmmakers are just afraid to shoot sometimes,’ he said. ‘If they feel that they don’t have the right budget for their story they don’t start.’

Many of his films have been shot with very little money and just a few people. His latest feature documentary A Skin So Soft, which follows six body builders, was shot over 27 days on a budget of Euros 40,000 ($45,700). Although unconfirmed, the intention is for the film to have its world premiere at Locarno.

Côté’s love affair with cinema started in his early teenage years when his diet was purely horror movies, mainly European artistic genre filmmakers like Dario Argento, who filled his head with images of ‘witches, zombies, skulls, blood and cannibals.’

When he went to college at 18 his film teacher opened his eyes to the delights of arthouse movies by the likes of Fassbinder, Godard and Cassavetes. ‘It changed my life,’ Côté says. ‘I never watched horror cinema after that, but its DNA was still inside me, so when you watch some of my films there is a feeling of menace. There is always something that I borrowed from horror cinema because it has stuck in my head and my personality somewhere.’

After college he became a film critic on community radio, and later worked as the critic for a local publication. He then decided to make his first feature film. ‘I said, “I’m going to show the world what I can do with zero money, a video camera and four people,” he recalled. ‘I was pretentious like that.’

He decided to ‘make a movie at the end of the world’ and so chose a village at the end of a road heading out of Quebec. Drifting States (2005) featured a man driving for 16 hours – shortened to two minutes and 45 seconds in the film – until the road stopped (‘for me that was super poetic,’ he said), and then starting his life afresh.

The film won the video section award at Locarno and the prize money allowed him to quit his job and follow the film as it appeared in around 50 festivals over one and a half years. When the film won $10,000 at a festival in Korea, he used the money to make his next film, Our Private Lives (2007).

Bigger-budget films followed, like All That She Wants (2008) and Curling (2010), but Côté has repeatedly returned to low-budget filmmaking. He remains an independent film guy at heart and admits he has an aversion to folks from the mainstream movie industry. [As for Hollywood filmmaking, he notes] ‘I can’t be around these people. I hate these people so much.'”

Words of wisdom from someone who knows what he’s talking about.

My Videos on Vimeo – Full Speed

Saturday, July 1st, 2017

Here’s a brief abstract video I’ve made – nice and short – entitled Full Speed.

I have been making quite a number of videos, and posting them on Vimeo – free to view for all – and here’s one I made two years ago that seems particularly popular. I check my viewing stats on a relatively daily basis, and re-order the playlist in order of changing viewer preferences – not necessarily my own favorites, but the ones that get played and loaded the most. Actually, our tastes coincide most of the time, and I’m drawn, especially these days, to my lighter, more accessible work.

Full Speed is a brief abstract animation, nice and bright, to add some color and cheer to your day. You can see my front page on Vimeo by clicking here, which includes my latest works, just posted today – Dome and Flowers along with a batch of other popular videos, including Serial Metaphysics, DJ, Dana Can Deal, Numen Lumen, Beat Box, Real & Unreal, Life of Luxury, Escape and about 300 more videos from 1974 to the present. They cover a wide range of approaches, from documentary to abstract and nearly all the possible stops in-between. Most run about 5 minutes or so, with some longer works in the 20 to 30 minute range.

My films have been screened at The Maryland Institute College of Art, The Museum of Modern Art, The Whitney Museum of American Art, Anthology Film Archives, The Microscope Gallery, The British Film Institute, The Jewish Museum, The Millennium Film Workshop, The San Francisco Cinématheque, The New Arts Lab, The Collective for Living Cinema, The Kitchen Center for Experimental Art, The Filmmakers Cinématheque, Film Forum, The Amos Eno Gallery, Sla 307 Art Spacesee the video for that screening here –  The Gallery of Modern Art, The Oberhausen Film Festival and at numerous universities and film societies throughout the world.

Now’s your chance to see them – for free – whenever you wish.

Offscreen – An Essential Canadian Film Journal

Wednesday, June 28th, 2017

Here’s an absolutely essential, completely free film journal that deserves much more attention.

I came across this journal this morning, and was shocked that I hadn’t heard of it before – mea culpa! Offscreen, an online film journal based in Canada, offers a refreshing alternative to the Hollywood based fan mania which is currently inundating the web, and showcases the major contributions that Canadian cinema – often neglected in the United States – offers to cinema culture and practice.

As the journal’s editor, Donato Totaro notes, “Offscreen has been online since 1997, along with its French language sister journal Hors Champ. Based in Montréal, Offscreen is a wide-ranging film journal that covers film festivals, retrospectives, film forums, and both popular and more academic events. Part of our mandate is to cover the Montreal film scene, but within an international context. The scope of its content, and the type of material featured and promoted in Offscreen can be summarized as follows:

  1. personal and independent film above big budget, formulaic film
  2. the under-represented (young, up and coming filmmakers)
  3. films with creative design and broad social commitment
  4. local and Canadian films/filmmakers
  5. Asian and alternative cinemas (horror, exploitation, esoteric,
    experimental, documentary, etc.)

Offscreen features extensive interviews, in-depth festival coverage, and lengthy, well-researched essays. The latter is in line with the guiding editorial policy at Offscreen, which is to allow for the flexibility to feature rigorous, well-researched texts alongside material that does not fit into traditional scholarly formats (director interviews, film festival reports, DVD reviews, etc.).

In short, our goal is to produce intelligent, thoughtful, and combative film criticism, analysis, discussion, and theory. We are driven to this end because we feel strongly that, within today’s image saturated info-entertainment landscape, cinema needs to be rigorously discussed in order to continue being an important voice of cultural and artistic expression well into the 21st century.”

It’s an excellent journal, and I found several articles of immediate interest. Click here, or on the image above to go straight to the journal’s website, and see for yourself the wealth of material available, covering everything from experimental cinema to indie features, decisively in favor of independent visions over corporate franchise films. It’s really breath of fresh air, and I recommend it highly.

Check out Offscreen by clicking here, or on the image above – happy reading!

New from The BFI: Minute Bodies on DVD and Blu-ray

Thursday, May 25th, 2017

The pioneering photo micrography of F. Percy Smith is now on DVD from the BFI.

As the notes for the DVD explain, “Minute Bodies: The Intimate World of F. Percy Smith, directed by Stuart Staples of Tindersticks, was first screened at the 60th BFI London Film Festival in October 2016. It is a meditative and immersive film tribute to the astonishing work and achievements of the early twentieth century naturalist, inventor, and pioneering filmmaker F. Percy Smith. You can see the trailer here.

Minute Bodies is an interpretative edit that combines Smith’s original footage with a new contemporary score by Tindersticks, with Thomas Belhom and Christine Ott, to create a hypnotic, alien yet familiar dreamscape that connects us to the sense of wonder Smith must have felt as he peered through his own lenses to see these micro-worlds for the first time.

The forming of the edit and its musical score evolved over a three year period. The music was created from a loose collective of invited musicians. With Tindersticks at its heart it also greatly benefits from the involvement of Thomas Belhom (percussion) and Christine Ott (Ondes Martenot and piano). There are also cameos from David Coulter (musical saw and nose flute) and Julian Siegel (saxophone). It was recorded and mixed at the band’s studio in France.”

The DVD / Blu-ray from the BFI boasts the BFI’s usual superb standard of both image and sound, and in addition to the main feature, there are a host of short films from the early 1900s to the mid 1930s, examining the wonders of nature in time lapse and slow motion format, which are every bit as compelling as the main attraction.

The BFI’s motto has been “Film Forever” for some time, and they’ve gone a long way this, and their other releases, towards being the most adventurous DVD label in Europe. The seamless editing of the hallucinatory images of F. Percy Smith, coupled with Tindersticks’ gently ambient soundtrack, combines to create a vision of the world which is simultaneously sinister and wondrous – a world most people never even imagine.

Considering the relatively primitive technology of the period, Smith’s images are clear and crisp, and the intense care and detail that went into each of his miniature films is readily apparent. Films are only really films when they’re being viewed, and while once Smith’s shorts were classroom staples in science classes and the like in Britain in the early part of the 20th century, without preservation they would be lost to us now.

That’s what makes this DVD so stunning, so essential, and so magical. 

Indiewire’s Cannes 2017 Roundup

Wednesday, May 24th, 2017

There’s lots of great films at Cannes. Most will never get real distribution.

Cannes is still going on until May 28th, but the coverage provided by Indiewire above gives one an idea of the embarrassment of riches on display at the fest, even if it has been marred – ever so slightly – be tech snafus and some less than stellar entries and sidebars.

But consider: the festival offered a superb restoration of Belle de Jour, as well as a new documentary on Stanley Kubrick’s long and illustrious career; animated films from Iran; talks by Wim Wenders and Spike Lee at the American Pavilion; the premiere of Todd Haynes’ new film Wonderstruck; a wealth of technical information for aspiring and practicing filmmakers; the first two episodes of David Lynch’s Twin Peaks reboot; a seminar on how VOD and theaters will continue to co-exist; as well as new films by Arnaud Desplechin, Vanessa Redgrave in her directorial debut, Takashi Miike’s 100th feature film, Bruno Dumont’s “heavy metal” Joan of Arc film Jeanette, Sofia Coppola’s take on The Beguiled and so much more.

There’s so much going on here – so much more than what’s going at your local multiplex. If you’re lucky enough to live in a town that supports an art theater, please go and see the more adventurous films there. They won’t be coming to the main commercial houses, who are too busy prepping for Top Gun 2 (seriously). For all the expense and crowds and security and other inconveniences of Cannes, it remains a magnet for talent and controversy in the cinema, all the more important in an era that doesn’t value art as an essential aspect of human existence, which it absolutely is.

Follow all of Indiewire‘s coverage of Cannes by clicking here, or on the image above.

New Video – Mystery Train

Wednesday, May 24th, 2017

Here’s a new video entitled Mystery Train. Click here, or on the image above, to view.

Wheeler Winston Dixon’s films have been screened at The Maryland Institute College of Art, The Museum of Modern Art, The Whitney Museum of American Art, Anthology Film Archives, The Microscope Gallery, The British Film Institute, The Jewish Museum, and The Millennium Film Workshop.

In addition, his works have been shown at The San Francisco Cinématheque, The New Arts Lab, The Collective for Living Cinema, The Kitchen Center for Experimental Art, The Filmmakers Cinématheque, Film Forum, The Amos Eno Gallery, Sla 307 Art Space, The Gallery of Modern Art, The Oberhausen Film Festival and at numerous universities and film societies throughout the world.

In 2003, Dixon was honored with a retrospective of his films at The Museum of Modern Art, and his films were acquired for the permanent collection of the Museum, in both print and original format. More recently, he has been working in HD video with such films as An American Dream, Instant Replay, and The Shapes of Things, and continues to create new work, with some two hundred plus videos to date available for viewing on his Vimeo website.

To see more of Dixon’s video and film work, just click here.

Denis Côté’s Joy of Man’s Desiring and Bestiare on DVD

Friday, February 24th, 2017

Denis Côté’s superb films Bestiaire and Joy of Man’s Desiring are finally available on DVD.

As I wrote of Côté’s work in conjunction with an interview I did with him for Senses of Cinema in June, 2015, “Denis Côté is a young Canadian filmmaker who has burst onto the international film scene with a group of challenging and innovative movies in the past few years. Born 16 November, 1973 in New Brunswick, Canada, Côté began his career with a group of short films, and made his first feature in 2005, Drifting States (Les états Nordiques), which won the Golden Leopard at the Locarno International Film Festival.

Since then, Côté has worked a number of commercial and/or personal projects, most notably Curling (2010), a father/daughter family drama that was exceptionally well received by audiences and critics alike; Bestiaire (2012), a “docufiction” – that’s my own term – film centering on the animals who populate a tourist destination zoo in Canada; and Vic+Flo Saw A Bear (Vic+Flo ont vu un ours, 2013), a harrowing tale of two women trying to make it on the outside after a stint in prison, and how the world conspires against them to make redemption – at least in life – almost impossible. Vic+Flo Saw A Bear was probably Côté’s most successful film to date, and was screened at more than 90 festivals around the world.

Côté’s Joy of Man’s Desiring (aka Que ta joie demeure, 2014), which documents, after a fashion, daily life on the factory floor, as workers methodically partner with their machines to create the staples of daily existence, is one of his most individual works. In all these projects, Côté offers his own unique take on concepts of narrative in his fiction films, and reportage in his documentaries, to create a series of films that are at once open-ended, mysterious, and subtly disturbing.”

Since them, Côté has completed Boris sans Béatrice, a typically uncompromising film centering on a marriage falling apart, which was selected to compete for the Golden Bear at the 66th Berlin International Film Festival –  now available on DVD from K Films. I saw Boris sans Béatrice on streaming video, but of course the chance to own a hard copy of the film can’t be passed up. Côté is a one-of-a-kind filmmaker, who is only now getting some measure of the attention he deserves; his work increases in depth and resonance with the passage of time, and he’s clearly a major talent.

I want to especially thank Gwendolyn Audrey Foster for introducing me to Côté’s work – it’s magical.

Robert Frank and Alfred Leslie’s “Pull My Daisy”

Monday, November 7th, 2016

Every so often, it’s good to go back and look at a classic.

As Wikipedia notes in their discussion of the film, “Pull My Daisy (1959) is a short film that typifies the Beat Generation. Directed by Robert Frank and Alfred Leslie, Daisy was adapted by Jack Kerouac from the third act of his play, Beat Generation; Kerouac also provided improvised narration.

The film starred poets Allen Ginsberg, Peter Orlovsky and Gregory Corso, artists Larry Rivers (Milo) and Alice Neel (the Bishop’s mother), musician David Amram, actors Richard Bellamy (the Bishop) and Delphine Seyrig (Milo’s wife), dancer Sally Gross (the Bishop’s sister), and Pablo Frank, Robert Frank’s then-young son.

Based on an incident in the life of Beat icon Neal Cassady and his wife, the painter Carolyn, the film tells the story of a railway brakeman whose wife invites a respected Bishop over for dinner. However, the brakeman’s bohemian friends crash the party, with comic results.

Originally intended to be called The Beat Generation the title Pull My Daisy was taken from the poem of the same name written by Kerouac, Ginsberg, and Cassady in the late 1940s. Part of the original poem was used as a lyric in David Amram‘s jazz composition that opens the film . . .

Pull My Daisy was accordingly praised for years as an improvisational masterpiece, until Leslie revealed in a November 28, 1968 article in The Village Voice that the film was actually carefully planned, rehearsed, and directed by him and Frank, who shot the film on a professionally lit studio set.

Leslie and Frank discuss the film at length in Jack Sargeant‘s book Naked Lens: Beat Cinema. An illustrated transcript of the film’s narration was also published in 1961 by Grove Press. Pull My Daisy was selected for preservation in the United States National Film Registry by the Library of Congress in 1996, as being ‘culturally, historically, or aesthetically significant.'”

Shot in 35mm on a shoestring budget in a New York City which has long since passed into legend, Pull My Daisy is an authentic talisman of a bygone era, in which art was valued over gloss and artificial perfection. The film was shot silent, because there was no money for sync-sound, but despite the rough look of the film, it’s a work of raw, authentic beauty. Definitely worth 25 minutes of your time; this is the way it was in a more egalitarian and compassionate era.

50th Anniversary Screening of The Chelsea Girls at Anthology

Sunday, October 2nd, 2016

Fifty years ago today, Andy Warhol’s The Chelsea Girls had its first public screening.

Tonight at Anthology Film Archives, Jonas Mekas will introduce the 50th anniversary screening of this indelible, inexhaustible masterpiece, which is a very difficult film to project, requiring two 16mm projectors, stereo sound, and a great deal of patience on the part of the projectionist.

Starring nearly the entire gallery of Warhol 60s superstars, including Nico, Ondine, Marie Menken, Mary Woronov, Gerard Malanga, International Velvet, Ingrid Superstar, Mario Montez, Eric Emerson, and Brigid Berlin, the film runs a mammoth 210 minutes, but is worth every second of your time.

As Anthology’s website notes, “Warhol’s double-screen masterpiece – consisting of 12 unedited reels, shown side-by-side, with only one soundtrack audible at a time – depicts the Chelsea Hotel as a teeming hive of Superstars, junkies, prostitutes, and generally out-sized personalities.

An underground sensation upon its release, it ultimately broke out of the underground cinema circuit, invading a ‘respectable’ uptown theater and leading uptight New York Times critic Bosley Crowther to declare, ‘now that [the] underground has surfaced on West 57th Street and taken over a theater with carpets…it is time for permissive adults to stop winking at their too-precious pranks….’

Before having the gall to blow uptown minds, however, The Chelsea Girls premiered in 1966 at Jonas Mekas’s Film-Makers’ Cinematheque at 125 West 41st Street (apparently far enough downtown for Crowther), where it sold out many of its initial screenings and enjoyed several return engagements, before moving to the Cinema Rendezvous on 57th.

To celebrate its 50th anniversary, we present this special screening (safely downtown), hosted by Jonas Mekas himself, who will share stories of how The Chelsea Girls was let loose on the world.”

The original projectionists were Jerome Hiler and Bob Cowan; the Cinemathque in this particular iteration was run by the late Greg Sharits; and as the notes above indicate, it was an instant smash, with ads running in The New York Times, and nearly universal critical acclaim.

More than any other film, with the exception of La Dolce Vita, The Chelsea Girls holds a mirror up to the culture of the 1960s; it is at all surprising that the late chanteuse and actor Nico is in both films?

So, if you’re in New York City tonight, this is a must see – of course, there’s also a great new production of Wagner’s Tristan und Isolde playing at The Metropolitan Opera this week, so that’s something – just something – of a toss up. But that should give you some idea of just how important The Chelsea Girls is as a cultural landmark – it’s an absolutely brilliant, merciless, and altogether stunning experience, of equally epic stature.

The Chelsea Girls is on my “top ten” list – which has 250 films in it – see it if you can.

Wheeler Winston Dixon – New Films Posted on Vimeo

Sunday, July 31st, 2016

I have a number of new films posted on Vimeo, all in digital HD.

The titles include An American Dream, Real and UnrealStill Life, Light and ShadowCaptive AudienceClosed Circuit, The Shapes of Things, Summer Storm, CityLago di Garda and Acceleration and many more. You can check them all out by clicking on the image above, or the individual links for each title. I’ve been working on these films for the past couple of years, but all were released in 2016. They range in length from a half an hour to two minutes, and cover a number of different topics and approaches. They’re ”cinepoems” in the tradition of Man Ray, gathering widely disparate images together into an often conflicting, sometimes coherent whole.

An American Dream traces the rise of late-stage capitalism in the United States, and the decline of personal interaction. Money, violence, and consumerism dominate the images here, as befits a society in which 1% of the populace control 99% of the nation’s wealth, leaving the rest of us as mere spectators. In the final analysis, An American Dream is a requiem for a society in which inequality is the new norm.

Of An American Dream, critic Peter Monaghan noted that “the film’s theme is the rise of late-stage American capitalism, and the decline of personal interaction amidst increasing attachment to money, violence, and consumerism,” while David Finkelstein wrote that “watching An American Dream, hypnotized by the beautiful motion of slowly flying fragments of glass accompanied by heavenly voices, is like washing down several Valium pills with a martini, and musing on the state of American life as you drift off into a long, imperturbable sleep.”

Of the much more optimistic Still Life, critic Jorge Orduna wrote that “the world turns. The oceans give and take their power. The trees grow, the sun rises and sets, and we all go through it daily, and yet we don’t think about it. In this collection of images, you’re forced to think about it, even if it’s only for a brief time. For 30 minutes, you see both the stillness and motion of life. Watching the film without interruption, with headphones on, you feel as though you’re in your own cocoon, and by the end, you’ll have a new appreciation for the world around you.”

I have a show coming up this Fall at the Amos Eno Gallery in New York, but you can see the films now, right here on Vimeo. But they do look better on a large screen. So if you’ve got a video projector lying around the house, try one of the longer ones, like An American Dream, Real and UnrealStill Life, or The Shapes of Things, and see what you think. Those are perhaps my favorites of the group of films, and The Shapes of Things, especially, looks fabulous when projected in a theatrical setting. So get a blanket, some lawn chairs, and set it up in the backyard, or on the rooftop – after all, they’re free – something else I like about them.

Click on the various links or the image above, and have a look.

About the Author

Headshot of Wheeler Winston Dixon Wheeler Winston Dixon, Ryan Professor of Film Studies at the University of Nebraska-Lincoln, is an internationally recognized scholar and writer of film history, theory and criticism. He is the author of thirty books and more than 100 articles on film, and appears regularly in national media outlets discussing film and culture trends. Frame by Frame is a collection of his thoughts on a number of those topics. All comments by Dixon on this blog are his own opinions.

In The National News

Wheeler Winston Dixon has been quoted by Fast Company, The New Yorker, The New York Times, the BBC, CNN, The Christian Science Monitor, US News and World Report, The Boston Globe, Entertainment Weekly, The Los Angeles Times, NPR, The PBS Newshour, USA Today and other national media outlets on digital cinema, film and related topics - see the UNL newsroom at http://news.unl.edu/news-releases/1/ for more details.

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